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GREAT  ENGRAVERS  :  EDITED  BY  ARTHUR  M.  HIND 


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MARCANTONIO  RAIMONDI  • 
POETRY:    B.  382 


After  a  lost  drawing  by  Raphael  for  the 
Camera  della  Segnatura  in  the  Vatican 


MARC  ANTON  10 


f  A  L  I  A  N     E  N  - 


GRAVERS  AND  ETCHERS 


j    OF   THE    SIXTEENTH 
CENTURY 


FREDK.    A.     STOKES      COMPANY 
NEW  YORK  PUBLISHERS 


Art  Library 


THE  mastery  of  form  and  the  absolute  facility  and  technical 
accomplishment  shown  in  the  best  of  Marcantonio's  plates 
are  not  the  best  recommendation  of  his  art  to  the  modern 
amateur.  Academic  perfection  has  tended  so  much  to  foster  mere 
imitation  and  crush  the  smaller  individualities,  that  one  is  often 
tempted  from  very  surfeit  to  over-estimate  the  value  of  revolt  and  the 
striving  after  originality  in  the  mere  outward  form  of  things,  and  to 
forget  the  real  qualities  of  a  great  master  amid  the  average  production 
of  his  followers.  It  must  be  confessed  that  a  great  proportion  of  the 
sixteenth-century  engravings  in  Italy  suffers  from  the  overwhelming 
influence  of  Raphael.  The  engravers  of  the  preceding  century  were 
far  from  attaining  the  same  level  of  technical  proficiency,  but  they 
seldom  failed  to  show  an  independence  that  characterises  even  the 
minor  works  of  the  early  Renaissance  in  Italy. 

According  to  Vasari,  Marcantonio  worked  as  an  engraver  in  the 
service  of  Raphael,  who  turned  his  factotum  Baviera  to  printing,  and 
with  these  two  adjutants  carried  on  a  considerable  trade  in  repro- 
ductions of  his  works.  One  would  expect,  if  this  had  actually  been 
the  case,  that  Marcantonio's  engravings  would  have  more  consistently 
reproduced  Raphael's  finished  pictures  or  frescoes,  as  in  the  case  of 
Rubens  and  the  engravers  who  worked  under  his  immediate  direction. 
But  with  Marcantonio  this  is  practically  never  the  case.  Just  a  few 
of  his  prints  correspond  fairly  closely  with  the  finished  compositions, 
e.g.  the  Galatea  (xxx)  with  the  painting  in  the  Farnesina,  but  the 
majority  of  the  plates  which  are  related  to  frescoes  in  the  Vatican 
and  to  other  paintings  by  Raphael,  seem  to  have  been  taken  from 
sketches  done  by  the  master  in  the  course  of  his  work.  The  finished 
compositions  generally  show  an  advance  in  the  development  or 
concentration  of  the  design  beyond  the  state  in  which  it  is  rendered 
by  Marcantonio. 

This  consideration  has  led  to  some    doubts    being   cast    on    the 

S 


\ 


GREAT  ENGRAVERS 

intimate  association  of  Raphael  and  Marcantonio  as  related  by  Vasari. 
But  Vasari  wrote  within  fifty  years  of  the  event,  and  even  in  face  of 
a  priori  probabilities  his  tradition  should  carry  great  weight.  Besides, 
in  a  period  when  close  reproduction  was  only  in  its  infancy,  Raphael 
might  quite  well  have  preferred  to  leave  Marcantonio  the  liberty 
justified  by  his  genius  as  an  engraver,  merely  supplying  him  with 
drawings  to  develop  in  his  own  way. 

In  any  case,  whether  he  worked  in  this  manner  directly  in 
Raphael's  service  or  not,  he  must  somehow  have  obtained  many  of 
the  master's  preparatory  studies  for  his  paintings,  and  elaborated  them 
with  a  setting  of  his  own  invention. 

There  are  very  few  examples  in  which  the  original  drawings  used 
by  the  engraver  can  be  traced,  two  of  the  most  certain  being  one  for 
the  Lamentation  (B.  37)  in  the  Ashmolean  Museum,  Oxford,  and 
another  for  the  Massacre  of  the  Innocents  (xxn  and  xxm)  in  the 
British  Museum.  We  have,  as  far  as  possible,  indicated  beneath  the 
plates  the  sources  of  the  engravings,  but  in  most  instances  it  is  only  a 
relation  to  a  finished  composition  that  can  be  given,  while  in  others 
the  relation  to  painting  and  even  painter  must  be  left  entirely 
undefined. 

In  most  of  Marcantonio's  work  done  at  Rome  (where  he  lived 
from  1510  until  1527),  Raphael  must  be  regarded  as  the  chief  inspirer, 
though  Baldassare  Peruzzi  may  have  supplied  the  original  designs  for 
other  plates  (e.g.  the  Triumph  of  Scipio,  after  a  drawing  in  the  Louvre). 
In  the  earlier  part  of  his  life  at  Bologna,  where  he  was  born  about 
1480,  he  must  have  reproduced  or  adapted  compositions  by  his 
master,  the  goldsmith-painter  Francesco  Francia  (see  i),  but  the 
majority  of  his  plates  in  this  manner  may  be  his  own  original  work. 
He  is  said  to  have  worked  as  a  niello-engraver  under  Francia,  and 
the  closely  hatched  shading  which  characterises  the  Bolognese  nielli 
may  account  for  the  peculiarly  dark  style  of  his  engravings  of  this 
period. 

The  study  of  Durer  was  undoubtedly  the  chief  influence  in 
clarifying  his  lineal  style,  which  is  seen  at  its  best  in  the  early  works 
6 


MARCANTONIO 

of  his  Roman  period,  in  plates  such  as  the  Poetry  (FRONTISPIECE),  and 
the  Death  of  Lucretia  (xix),  with  their  perfection  of  line  and  alluring 
mellowness  of  tone. 

Later  he  became  more  rugged  and  summary  in  his  mode  of  ex- 
pression, using  a  stronger  and  more  open  system  of  line  work.  The 
development  of  his  style  may  be  exemplified  in  the  two  versions  of 
the  Massacre  of  the  Innocents  (xxn  and  xxm)  and  the  Christ  lamented 
by  his  Mother  (xxiv  and  xxv),  i.e.  if  the  plausible  theory  that 
Marcantonio  repeated  himself  in  a  popular  subject  at  a  later  date  be 
correct. 

How  closely  he  was  approached  by  the  best  work  of  his  pupils, 
Marco  de  Ravenna  and  Agostino  Veneziano,  is  shown  by  some  of  the 
examples  of  their  work  here  given.  Bartch  was  wise  in  classing  their 
plates  with  the  master's  in  one  catalogue,  for  in  many  cases  in  the 
absence  of  signature  the  authorship  remains  quite  uncertain. 

From  what  we  have  said  of  Marcantonio's  method  of  handling 
Raphael's  designs,  it  will  be  seen  that  he  was  merely  on  the  threshold 
of  reproductive  engraving.  For  the  better  part  of  the  sixteenth 
century  most  of  the  Italian  engravers  probably  used  the  same  liberty 
in  interpreting  their  originals,  and  a  school  of  reproductive  engraving, 
strictly  so  called,  coincides  with  the  advent  in  Italy  of  Flemings,  such 
as  Cornelis  Cort,  and  with  the  growing  influence  of  the  Carracci. 

Besides  the  line-engravers  working  more  or  less  under  the  influence 
of  Marcantonio,  of  whom  Giorgio  Ghisi,  of  Mantua,  was  one  of  the 
most  individual,  we  have  given  examples  of  the  original  etchings  of 
two  famous  painters,  Parmigiano  and  Meldolla. 

Parmigiano  is  one  of  the  earliest  of  the  Italian  painters  to  make  a 
regular  practice  of  etching.  His  lightly  bitten  plates  have  all  the 
characteristics  of  his  swift  and  flowing  pen  drawings,  with  too  little 
emphasis  to  be  forcible  as  etchings.  Nevertheless,  in  spite  of  their 
mannerism,  his  prints  possess  a  graceful  charm,  and  found  numerous 
imitators. 

Meldolla,   who   is    better   known    under    the    name    of  Andrea 

7 


GREAT  ENGRAVERS 

Schiavone  for  his  little  oblong  panel-paintings  of  landscape  and 
mythology,  is  even  more  mannered  than  Parmigiano,  and  less  secure 
as  a  draughtsman.  He  was  one  of  the  first  engravers  to  work  with 
the  dry-point,  a  process  little  used  until  the  time  of  Rembrandt. 
His  subjects  are  etched  in  a  scratchy  and  irregular  style,  somewhat 
intensified  by  the  irregular  surface  of  his  plates,  which  tradition  has 
described  as  of  pewter.  But  with  all  their  faults,  there  is  a  touch  of 
fire  and  a  sense  of  motion  in  his  pictures  and  prints,  which  render 
them  peculiarly  attractive. 


:    MARCANTONIO  BOI-OGNESE 

I  1  NT  AG  L  I  ATO  HE. 


BOOKS   OF  REFERENCE 

CUMBERLAND,  George.  Some  Anecdotes  of  the  Life  of  Julio  Bonasone, 
followed  by  a  catalogue  of  his  engravings.  London  1793 

BARTSCH,  Adam.  Le  Peintre-graveur.  Vols.  XIV-XVI.  Vienna  1813, 
1818 

PASSAVANT,  J.  D.     Le  Peintre-graveur.     Vol.  VI.     Leipzig  1864 

RULAND,  Carl.  The  Works  of  Raphael  Santi  as  represented  in  the  Royal 
Library  at  Windsor  (privately  printed).  1876 

LIPPMANN,  F.  Ein  Holzschnitt  von  Marcantonio.  Jakrbuch  der  kgl.  Preuss. 
Kunstsamm/ungen,  1.  270 

DELABORDE,  Henri.     Marcantonio  Raimondi.      Paris  1887 

FISCHEL,  Oskar.  Raphael's  Zeichnungen.  Strassburg  1898  (Dr.  Fischel 
is  preparing  a  new  complete  catalogue  of  Raphael's  drawings  which  is 
certain  to  throw  more  light  on  their  relation  to  Marcantonio's  prints) 

KRISTELLER,  Paul.  Marcantons  Beziehungen  zu  Raffael.  Jahrbuch  der 
kgl.  Preuss.  Kunstsammlungen,  XXVIII  (1907),  199 

HIND,  A.  M.  Ed.  Sir  Sidney  Colvin.  Catalogue  of  the  Early  Italian 
Engravings  in  the  British  Museum.  London  1910  (includes  Jacopo 
Francia) 


LIST  OF  PLATES 

The  abbreviations  used  in  this  list  :   B.  =  Bartsch  ;  P.  =  Passavant. 

MARCANTONIO  RAIMONDI 

Poetry.  B.  382.  After  a  lost  dr diving  by  Raphael  for  the  fresco  in  the 
Camera  della  Segnatura  in  the  Vatican.  Frontispiece 

The  Baptism  of  Christ,  i.  B.  22.  After  a  study  by  Francesco  Francia 
for  the  picture  at  Hampton  Court  (there  is  a  fragment  in  the  Uffizi, 
which  may  be  part  of  the  original  drawing} 

Allegory  (the  serpent  speaking  to  a  young  man),     n.     B.  396 

Apollo  and  the  Graces,     in.     B.  398 

St.  George  and  the  Dragon,     iv.     98 

Pyramus  and  Thisbe.     v.     B.  322 

Orpheus,     vi.     B.  314 

Venus,     vn.     B.  312 

Woman  watering  a  plant,     vin.      B.  383 

Venus  and  Cupid,     ix.      B.  313. 

Children  playing,     x.      B.  320 

Portrait  of  Philotheo  Achillini.     xi.      6.469 

Man  asleep  by  a  wood.     xn.     B.  438 

Allegorical    subject,    called  "Raphael's  Dream."     xin.     B.   359.     The 
figures  based  on  some  Giorgionesque  original ;  the  fantastic  and  grotesque 
motives  reminiscent  of  Jerome  Bosch 

St.  Jerome,     xiv.     B.    102.     The  landscape  suggested  by  some   Venetian 
original 

II 


GREAT  ENGRAVERS 

MARCANTONIO  RAIMONDI  (continued} 

The  Bathers,  xv.  B.  487.  Based  on  details  in  Michelangelo's  lost 
cartoon  of  the  "  Battle  ofP'ua."  The  landscape  copied  from  Lucas  van 
Ley  Jen  s  "  Mahomet  and  the  Monk  Sergius  " 

Adam  and  Eve.     xvi.     B.  I 

Orpheus  and  Eurydice.     xvn.      B.  295 

The  Death  of  Dido.     xvin.     6.187 

The  Death  of  Lucretia.     xix.     B.  192. 

Bacchus  presiding  at  the  Vintage,     xx.      B.  306 

God  appearing  to  Noah.  xxi.  B.  3.  After  some  study  by  Raphatl  for 
the  ceiling  of  the  Stanza  of  Heliodorus  in  the  Vatican 

The  Massacre  of  the  Innocents  (with  the  fir  tree),  xxn.  B.  18.  First 
state,  before  the  signature  (which  is  here  added  in  pen  and  ink).  Probably 
based  on  a  drawing  by  Raphael  in  the  British  Museum 

The  Massacre  of  the  Innocents,  xxm.  B.  20.  A  second  version  of  the 
subject,  possibly  a  later  repetition  by  Marcantonio  himselj 

Christ  lamented  by  his  Mother,     xxiv.     B.  34 

Christ  lamented  by  his  Mother,  xxv.  B.  35.  A  second  version  of  the 
subject,  possibly  a  later  repetition  by  Marcantonio  himselj 

St.  Cecilia,  xxvi.  B.  116.  After  a  study  by  Raphael  for  the  picture  in 
Bologna 

Parnassus,  xxvn.  B.  247.  Based  on  some  drawing  by  Raphael  for  the 
fresco  in  the  Vatican,  Rome. 

The  Judgment  of  Paris,     xxvni.     B.   245.     After  a  drawing  by  Raphael, 
based  on  the  antique.      Compare  reliefs  in  the  Villa  Medici,  and  Villa 
Pamphilj,  Rome 
12 


MARCANTONIO 

MARCANTONIO  RAIMONDI  (continued} 

Jupiter  and  Cupid,  xxix.  B.  342.  Based  on  a  drawing  l>y  Raphael  for 
the  fresco  in  the  Farnesina,  Rome 

Galatea,  xxx.  B.  350.  After  the  painting  by  Raphael  in  the  Farnesina, 
Rome,  or  based  on  some  study  for  it. 

Strength,     xxxi.     B.  375 

The  Virgin  and  Child,  xxxn.  B.  52.  After  a  study  for  Raphael's 
Madonna  di  Foligno 

Christ  in  glory,  with  the  Virgin,  St.  John  the  Evangelist,  St.  Paul  and 
St.  Catherine,  xxxni.  B.  113 

Children  dancing,      xxxiv.     B.  217 

Allegorical  subject  (the  man  with  the  double  trumpet),      xxxv.      B.  356 

Illustration  to  Amadeo  Berruti's   Dialogue    on   Friendship,  Rome   1517. 

XXXVI 

/ 

The  young  mother  and  two  men.     xxxvn.      B.  432 
The  Three  Doctors,     xxxvm.     B.  404 

Women  supporting  an  urn  (design  for  sculpture  or  bronze),  xxxix. 
6.489 

The  Three  Graces.  XL.  'Based  on  the  antique.  Compare  the  sculpture  in 
the  Vatican,  Clarac,pl.  632,  No.  1,427 

Fauns  carrying  a  child  in  a  basket.  XLI.  B.  230.  After  a  relief  on  a 
sarcophagus  in  the  Naples  Museum  (reproduced,  E.  Gerhard,  Antike 
Bildzverke,  cxi) 

Portrait  of  Pietro  Aretino.     XLII.     6.513 
Supposed  portrait  of  Raphael.     XLIII.     B.  496 


GREAT  ENGRAVERS 

ANONYMOUS  :  SCHOOL  OF  MARCANTONIO 

The  Virgin  reading  to  the  child.      XLIV.      B.  48.      Possibly  by  Marco  da 
Ravenna.      Based  on  a  drawing,  attributed  to  Raphael,  in  Chatsivorth 

St.  Helena  and  the  Vision  of  the  Cross.     XLV.     B.  460 

JACO?O  FRANCIA 

Lucretia.     XLVI.     B.  4.     first  state,  before  the  clouds  were  added  in  the 
upper  corners 

B.icchus  and  his  attendants.     XLVII.     B.  xv.  646,  7 

MARCO  DENTE  DA  RAVENNA 

Entellus  and   Dares.     XLVIII.     B.    195.     Based  on  an  antique  relief  in  the 
Lateran,  Rome  (Benndorf  and Schone,  Leipzig  1867,  No.  13) 

Laocoon.     XLIX.     B.  353  .     After  the  sculpture  in  the  'Vatican 

AGOSTINO  (VENEZIANO)  DE'  Musi 

The  Three  Holy  Women  going  to  the  Sepulchre.     L.     B.  33 

Portrait  of  Barbarossa.     LI.     B  520 

Baccio  Bandinelli  and  his  pupils  in  his  studio.      LII.     B.  418 

ENEA  Vico 

Baccio  Bandinelli  and  his  pupils  in  his  studio.     LIII.     B.  49 

NICOLAS  BEATRIZET.     Portrait  of  Antonio  Salamanca,  printseller.    LIV.    B.  6 

GlULIO    BoNASONK 

Portrait  of  Michelangelo.     LV.     B.  345.      Undescribed,  early  state 
Portrait  of  Raphael.     LVI.     6.347 
14 


MARCANTONIO 

JACOPO  CARAGLIO 

The  Annunciation.     LVII.     B.  3.     After  a  lost  picture  by  Titian 
GIORGIO  GHISI 

Fortune.     LVIII.     B.  34 

Three  muses   and   a   genius.     LIX.     B.  38.     After  a  celling  painting  by 
Primaticcio,  once  in  Fontaine  bleau 

FRANCESCO  MAZZUOLI   (PARMIGIANO) 
The  Virgin  and  Child.     LX.     B.  4 
Shepherd  Boy.     LXI.     B.  12 

Woman  seated  on  the  ground  (St.  Thais?).     LXII.     B.  IO 
The  Entombment.     LXIII.     B.  5 

ANDREA  SCHIAVONE    (MELDOLLA) 

Moses  and  the  Burning  Bush.      LXIV.      B.  3 

ANONYMOUS  ETCHER  AFTER  TINTORETTO 

Portrait  of  the  Doge  Pasquale  Cicogna.     LXV.     B.  xv,  105,  I 

The  portrait  of  Marcantonio  at  p.  8  of  the  text  is  from  a  woodcut  by 
Cristofano  Coriolano  (after  a  design  by  Vasari  or  an  artist  of  his  school) 
in  the  second  edition  of  Vasari's  Lives  (1568). 

The  tail-piece  at  p.  9  (Frieze  of  children)  is  after  an  engraving  by  the 
Master  of  the  Die  (Benedetto  Verini  ?),  B.  36. 

The  decorative  piece  at  p.  10  (Unicorn)  is  an  anonymous  engraving  of 
the  School  of  Marcantonio. 


I.  MARCANTONIO  RAIMONDI.  THE  BAPTISM  OF  CHRIST.  6.22 
After  a  study  by  Francesco  Francia  for  the  picture  at  Hampton  Court 
(there  is  a  fragment  in  the  Uffizi  which  may  be  part  of  the  original 
drawing).  Line-engraver  ;  b.  ab.  1480  ;  d.  ab.  1530  ;  w.  at  Bologna, 
Venice,  and  Rome 


II.  MARCANTONIO    RAIMONDI.     ALLEGORY.     THE    SERPENT 
SPEAKING  TO  A  YOUNG  MAN.    B.  396 


III.  MARCANTONIO  RAIMONDI.    APOLLO  AND  THE  GRACES. 
8.398 


r 


IV.    MARCANTONIO     RAIMONDI.      ST.     GEORGE    AND     THE 
DRAGON.    6.98 


V.  MARCANTONIO  RAIMONDI.    PYRAMUS  AND  THISBE.    B.  322 


VI.    MARCANTONIO  RAIMONDI.    ORPHEUS.    B.  314 


VII.  MARCANTONIO  RAIMONDI.    VENUS.    B.  312 


VIII.  MARCANTONIO    RAIMONDI.    A    WOMAN    WATERING    A 
PLANT.    6.383 


IX.  MARCANTONIO  RAIMONDI.    VENUS  AND  CUPID.    B.  313 


M  2 


X.  MARCANTONIO  RAIMONDI.    CHILDREN  PLAYING.    B.  320 


XI.  MARCANTONIO    RAIMONDI.     PORTRAIT   OF    PHILOTHEO 
ACHILLINI.    3.469 


XII.  MARCANTONIO  RAIMONDI.     MAN  ASLEEP  BY  A  WOOD. 
B.438 


XIII.  MARCANTONIO     RAIMONDI.      ALLEGORICAL     SUBJECT, 
CALLED  "  RAPHAEL'S  DREAM."   B.  359 
The  figures  based  on  some  Giorgionesque  original.    The  fantastic 
and  grotesque  motives  reminiscent  of  Jerome  Bosch 


XIV.  MARCANTONIO  RAIMONDI.    ST.  JEROME.    B.  102 

The  landscape  suggested  by  some  Venetian  original 


XV.  MARCANTONIO  RAIMONDI.    THE  BATHERS.    B.  487 

Based  on  details  in  Michelangelo's  lost  cartoon  of  the  Battle  of  Pisa. 
The  landscape  is  copied  from  Lucas  van  Leyden's  Mahomet  and  the 
Monk  Sergius 


XVI.  MARCANTONIO  RAIMONDI.    ADAM  AND  EVE.    B.  i 


XVII.  MARCANTONIO  RAIMONDI.    ORPHEUS  AND  EURYDICE. 
6.295 


XVIII.  MARCANTONIO  RAIMONDI.  THE  DEATH  OF  DIDO.   B.  187 


XIX.  MARCANTONIO  RAIMONDI.    THE  DEATH  OF  LUCRETIA. 
B.  192 


XX.  MARCANTONIO  RAIMONDI.    BACCHUS  PRESIDING  AT  THE 
VINTAGE.    B.  306 


XXI.  MARCANTONIO  RAIMONDI.    GOD  APPEARING  TO  NOAH. 

B.3 

After    some   study  by  Raphael  for  the    ceiling   of    the    Stanza  of 
Heliodorus  in  the  Vatican 


XXII.  MARCANTONIO   RAIMONDI.     THE   MASSACRE  OF  THE 
INNOCENTS.    B.  18 

First  state,  before  the  signature  (which  is  here  added  in  pen  and  ink). 
Probably  based  on  a  drawing  by  Raphael  in  the  British  Museum 


XXIII.  MARCANTONIO  RAIMONDI.     THE  MASSACRE  OF  THE 
INNOCENTS.    B.  20 

A  second  version  of  the  subject,  possibly  a  later  repetition  by 
Marcantonio  himself 


XXIV.  MARCANTONIO    RAIMONDI.      CHRIST    LAMENTED    BY 
HIS  MOTHER.    B.  34 


XXV.  MARCANTONIO    RAIMONDI.       CHRIST    LAMENTED    BY 
HIS  MOTHER.    B.  35 

A  second  version  of  the  subject,  possibly  a  later  repetition  by  Marc- 
antonio  himself 


XXVI.  MARCANTONIO  RAIMONDI.    ST.  CECILIA.    B.  116 

After  a  study  by  Raphael  for  the  picture  in  Bologna. 


XXVII.  MARCANTONIO  RAIMONDI.    PARNASSUS.    B.  247 

Based  on  some  drawing  by  Raphael  for  the  fresco  in  the  Vatican, 
Rome 


XXVIII.  MARCANTONIO    RAIMONDI.       THE    JUDGMENT    OF 
PARIS.    B.  245 

After  a  drawing  by  Raphael  based  on  the  antique  (compare  reliefs 
in  the  Villa  Medici,  and  Villa  Pamphilj,  Rome) 


XXIX.  MARCANTONIO  RAIMONDI.   JUPITER  AND  CUPID.   2.342 
Based  on  a  drawing  by  Raphael  for  the  fresco  in  the  Farnesina,  Rome 


XXX.  MARCANTONIO  RAIMONDI.    GALATEA.    B.  350 

After  the  painting  by  Raphael  in  the  Farnesina,  Rome,  or  based  on 
some  study  for  it.  This  engraving  shows  fewer  variations  from 
Raphael's  finished  composition  than  almost  any  other  Marcantonio 
print  connected  with  the  subject  of  a  Raphael  picture 


XXXI.  MARCANTONIO  RAIMONDI.    STRENGTH.    B.  375 


XXXII.  MARCANTONIO  RAIMONDI.    THE  VIRGIN  AND  CHILD. 

B.52 

After  a  study  for  Raphael's  Madonna  di  Foligno 


XXXIII.  MARCANTONIO  RAIMONDI.  CHRIST  IN  GLORY  WITH 
THE  VIRGIN,  ST.  JOHN  THE  EVANGELIST,  ST.  PAUL 
AND  ST.  CATHERINE.  B.  113 


M  5 


XXXIV.  MARCANTONIO    RAIMONDI.       CHILDREN    DANCING. 
B.  217 


XXXV.  MARCANTONIO    RAIMONDI.     ALLEGORICAL    SUBJECT 
(THE  MAN  WITH  THE  DOUBLE  TRUMPET).    B.  356 


XXXVI.  MARCANTONIO  RAIMONDI.    Illustration  to  Amadco  Berruti'« 
Dialogue  on  Friendship,  Rome, 


XXXVII.  MARCANTONIO  RAIMONDI.     THE   YOUNG  MOTHER 

AND  TWO  MEN.    B.  432 

XXXVIII.  MARCANTONIO  RAIMONDI.    THE  THREE  DOCTORS. 

B.4o4 


XXXIX.  MARCANTONIO  RAIMONDL    WOMEN  SUPPORTING  AN 
URN.    (Design  for  sculpture,  or  bronze.)    B.  489 


XL.  MARCANTONIO  RAIMONDI.    THE  THREE  GRACES.    B.  340 

Based  on  the  antique.    Compare  the  sculpture  in  the  Vatican  (Clarac, 
pi.  632,  No.  1427) 


JIC    ROf-SCAJUTESNIVEO  EX 
MARMORE         SCVLP 


XLI.  MARCANTONIO  RAIMONDI.    FAUNS  CARRYING  A  CHILD 
IN  A  BASKET.    B.  230 

After  a  relief  on  a  sarcophagus  in  the  Naples  Museum  (reproduced, 
E.  Gerhard,  Antike  Bildwerke,  cxi). 


XLII.  MARCANTONIO     RAIMONDI.      PORTRAIT     OF     PIETRO 
ARETINO.    6.513 

Vasari  refers  to  this  plate  as  a  portrait  by  Marcantonio  from  the 
life  (Aretino,  the  notorious  blackmailer  and  litterateur,  was  in  Rome 
about  1526).  Apart  from  this  tradition  one  might  be  more  inclined 
to  regard  it  as  based  on  some  Venetian  painting. 


PETRVS  ARRETINVS   ACERRIMVS  VTRTVTVM  \c  V/TK 

DEMOSTRA.TOR 


M    6 


XLIII.  MARCANTONIO  RAIMONDI.     SUPPOSED  PORTRAIT  OF 
RAPHAEL.    6.496 


XLIV.  ANONYMOUS :  SCHOOL  OF  MARCANTONIO  RAIMONDI 
(MARCO  DA  RAVENNA  ?).  THE  VIRGIN  READING  TO 
THE  CHILD.  B.  48 

Based  on  a  drawing  attributed  to  Raphael,  in  Chatsworth 


XLV.  ANONYMOUS :    SCHOOL  OF  MARCANTONIO  RAIMONDI. 
ST.  HELENA  AND  THE  VISION  OF  THE  CROSS.    B.  460 

The  design  is  near  in  style  to  Parmigiano.  A  picture  of  the  same 
subject  by  Paul  Veronese  in  the  National  Gallery  may  have  taken  its 
suggestion  from  this  print 


XLVI.  JACOPO  FRANCIA.    LUCRETIA.    B.  4 

First  state,  before  the  clouds  were  added  in  the  upper  corners. 
Line-engraver  ;  b.  ab.  1487  ;  d.  1557  ;  w.  at  Bologna 


XLVII.  JACOPO  FRANCIA.    BACCHUS  AND  HIS  ATTENDANTS. 
B.  xv.  646,  7 


XLVIII.  MARCO  DENTE  DA  RAVENNA.   ENTELLUS  AND  DARES. 
B.  195 

Based  on  an  antique  relief  in  the  Lateran,  Rome  (Benndorf  and 
Schone,  Leipzig,  1867,  No.  13). 

Line-engraver ;    d.  1527 ;    w.  at  Rome,  under  the  immediate 
influence  of  Marcantonio 


XLIX.  MARCO  DENTE  DA  RAVENNA.    LAOCOON.    B.  353 

After  the  sculpture  in  the  Vatican 


L.  AGOSTINO    (VENEZIANO)    DE'    MUSI.     THE   THREE    HOLY 
WOMEN  GOING  TO  THE  SEPULCHRE.    B.  33 

Line-engraver ;  w.  ab.  1514-1536,  at  Venice,  and  under  the  immediate 
influence  of  Marcantonio  at  Rome 


M  7 


LI.  AGOSTINO  (VENEZIANO)  DE'  MUSI.    PORTRAIT  OF  BARBA- 
ROSSA.    6.520 


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jm         -f 
& 


'ARIADEMVS  BARBARAS SA  CIRTHAE.TVHEl 
•I O.  REX -AC  OTOMAMICAE  CI  ^VSS    PRAEfj 


LII.  AGOSTINO  (VENEZIANO)  DE'  MUSI.    BACCIO  BANDINELLI 
AND  HIS  PUPILS  IN  HIS  STUDIO.    B.  418 


LIII.  ENEA  VICO.     BACCIO    BANDINELLI  AND  HIS  PUPILS  IN 
HIS  STUDIO.    B.  49 
Line-engraver;  w.  ab.  1541-1567,  at  Parma 


LIV.  NICOLAS    BEATRIZET.     PORTRAIT   OF   ANTONIO    SALA- 
MANCA, PRINTSELLER.    B.  6 

Line-engraver  ;  b.  ab.  1515  ;  d.  ab.  1560  ;  w.  at  Luneville  and  Rome 


ANTCJN7VS      SALAMANCA,  ORJH  S  , 


S     ANTJQVITATVM  A 

JMITATOK 


LV.  GIULIO  BONASONE.  PORTRAIT  OF  MICHELANGELO.    6.345 

Undescribed  early  state. 

Line-engraver;  w.  ab.  1531-1574,  at  Bologna  and  Rome 


LVI.  GIULIO  BONASONE.    PORTRAIT  OF  RAPHAEL.    B.  347 


HAPHAEL1S    SAN  Ctil  VRBINATIS,, 

PICTOFUS  E/AINENTISS-EFFIGIEA*    IVLIVS  BONASONIV5  BONON1EN-AB 
EXEMPiARI  JVAtPTA  V,    CAELO  EXPRES5IT- 

'-""'""  I 


LVII.  JACOPO  CARAGLIO.    THE  ANNUNCIATION.    B.  3 

After  a  lost  picture  by  Titian. 

Line-engraver,  and  medallist ;  b.  ab.  1500  ;  d.  1565  ;  w.  in  Parma, 

Verona,  Rome,  Venice,  and  Cracow 


LVIII.  GIORGIO  GHISI.    FORTUNE.    B.  34 

Line-engraver;   b.  1520;   d.  1582  ;  w.  at  Mantua 


M    8 


LIX.  GIORGIO  GHISI.  THREE  MUSES  AND  A  GENIUS, 
AFTER  A  CEILING  PAINTING  BY  PRIMATICCIO  ONCE 
IN  FONTAINEBLEAU.  B.  38 


LX.  FRANCESCO  MAZZUOLI  (PARMIGIANO).    THE  VIRGIN  AND 
CHILD.    B.  4 

Painter  and  etcher  ;  b.  1503  (1504  ?)  ;   d.  1540  ;  w.  at  Parma 


LXI.  FRANCESCO  MAZZUOLI  (PARMIGIANO).    SHEPHERD  BOY' 
B.  u 


LXII.  FRANCESCO  MAZZUOLI  (PARMIGIANO).   WOMAN  SEATED 
ON  THE  GROUND  (ST.  THAIS  ?).    B.io 


LXIII.  FRANCESCO  MAZZUOLI  (PARMIGIANO).    THE  ENTOMB- 
MENT.   B.  5 


LXIV.  ANDREA  SCHIAVONE   (MELDOLLA).     MOSES  AND  THE 
BURNING  BUSH.    B.  3 
Painter  and  etcher ;  b.  1522  (?)   d.  1582;  w.  Sebenico,  and  Venice 


LXV.  ANONYMOUS  ETCHER  AFTER  TINTORETTO.    PORTRAIT 
OF  THE  DOGE  PASQUALE  CICOGNA.    B.  xv.  105,  i 


.PASCHALLS 
.CICONIA. 


VENETIABo 


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